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Recommend me a lush, warm, organic sounding reverb pedal
Old 2nd November 2019
  #61
Lives for gear
 
Meriphew's Avatar
 

There's a ton of great reverb pedals out there (Source Audio Ventris, Strymon BigSky, Neunaber - just to name a few). If you can't get a really good reverb sound from these, then the problem isn't with the pedals...
Old 4 weeks ago
  #62
Gear Addict
Quote:
Originally Posted by Meriphew View Post
If you can't get a really good reverb sound from these...
From my own experience of looking for what I think is best for me pedals-wise, I see a risk of overthinking what it is we "need" and how it will eventually be used.

If we're not making live ambient soundscapes where the guitar & pedals/rack are everything that is going on, there's less of a need for some holy grail of quality that we're almost never going to find in a single package anyway. I get that we want simplicity, especially if we play live, but often the solution doesn't come in a single box.

Problem is that most of the reviews we see online encourage us to hear these FX in isolation even if we never intend to use them that way. Once they're settled in a mix the majority of us would be hard pressed to tell just what units were used to achieve those few moments of reverb we can isolate in the mix.

I don't make busy music but, for me, if the effect is the main thing then I'm not really making music so much as creating lush sounds that probably only I will appreciate. The sorts of adoring fans we all hope we have some day or other won't care one way or another about whether that reverb tail is authentic or whatever. The bulk of the most compelling music in existence was made compelling by human talent/enthusiasm, and often with the most basic effects, or none at all. Now we're all control freaks that want to micromanage a reverb tail, and the gadget sellers would rather we carried on that way and were never happy with what we have.

I learned in business (not the music biz either) that striving for 100% quality is virtually meaningless, because when I think I've reached the apex there will be some people that want more to get to 100%, and meanwhile whatever it is I was making would also have satisfied other people long before it got released, simply because my idea of perfection includes a lot of things they don't even care about.

I have multiple reverbing devices, including two "actual" spring reverbs, and I like them all for different reasons. I think my digital reverb sounds can be incredibly accurate, and that they could be considered a bit "cold" as a result. The solution's simple. If they're accurate and you provide them a warmer sound, they'll accurately handle it and your effect will be warm.

I have a Timeline that I use on vocals, and the only time that gets "cold" is on a shimmer setting that by nature adds flecks of vocal ice over the top of a hopefully human voice.

I'd far rather have a "clinically accurate" effect that I can then choose to feed a signal from which I've chopped away the highs. Mixed back in with the original voice you have your warm reverb.

I really don't get the phenomenon of looking at these things in isolation but, as I said earlier, it might be a side effect of "product review culture" rather than "how to get this..." reviews that look at holistic (by which I mean "philosophical holism") approaches to recording whatever we need to record.
Old 4 weeks ago
  #63
Gear Guru
 
monkeyxx's Avatar
Quote:
Originally Posted by Idealimage View Post
From my own experience of looking for what I think is best for me pedals-wise, I see a risk of overthinking what it is we "need" and how it will eventually be used.

If we're not making live ambient soundscapes where the guitar & pedals/rack are everything that is going on, there's less of a need for some holy grail of quality that we're almost never going to find in a single package anyway. I get that we want simplicity, especially if we play live, but often the solution doesn't come in a single box.

Problem is that most of the reviews we see online encourage us to hear these FX in isolation even if we never intend to use them that way. Once they're settled in a mix the majority of us would be hard pressed to tell just what units were used to achieve those few moments of reverb we can isolate in the mix.

I don't make busy music but, for me, if the effect is the main thing then I'm not really making music so much as creating lush sounds that probably only I will appreciate. The sorts of adoring fans we all hope we have some day or other won't care one way or another about whether that reverb tail is authentic or whatever. The bulk of the most compelling music in existence was made compelling by human talent/enthusiasm, and often with the most basic effects, or none at all. Now we're all control freaks that want to micromanage a reverb tail, and the gadget sellers would rather we carried on that way and were never happy with what we have.

I learned in business (not the music biz either) that striving for 100% quality is virtually meaningless, because when I think I've reached the apex there will be some people that want more to get to 100%, and meanwhile whatever it is I was making would also have satisfied other people long before it got released, simply because my idea of perfection includes a lot of things they don't even care about.

I have multiple reverbing devices, including two "actual" spring reverbs, and I like them all for different reasons. I think my digital reverb sounds can be incredibly accurate, and that they could be considered a bit "cold" as a result. The solution's simple. If they're accurate and you provide them a warmer sound, they'll accurately handle it and your effect will be warm.

I have a Timeline that I use on vocals, and the only time that gets "cold" is on a shimmer setting that by nature adds flecks of vocal ice over the top of a hopefully human voice.

I'd far rather have a "clinically accurate" effect that I can then choose to feed a signal from which I've chopped away the highs. Mixed back in with the original voice you have your warm reverb.

I really don't get the phenomenon of looking at these things in isolation but, as I said earlier, it might be a side effect of "product review culture" rather than "how to get this..." reviews that look at holistic (by which I mean "philosophical holism") approaches to recording whatever we need to record.
Nice post. I wonder how many people on gearslutz make "noise music." I am sure that there are a few that I know of, but it's probably a minority.

Reverb, delay, etc takes on a different profundity in that application like you said.

I'm really interested in the kind of production / bands that are able to blend conventional composition with experimental / noisy elements within the same song/mix/project. That is a type of production that I would like to get much, much better at. I was thinking about buying an Earthquaker Avalanche Run soon as my first proper foray into that kind of thing in hardware form. I already own a ton of software that would fit the bill, but even software, you have to look at a different toolset to some degree for the more sound design kind of stuff.

The Boss Katana amp combos and heads have a really impressive reverb selection, I just found out, when I was dialing in my katana 50 MK II combo the other day. If you want a clean amp tone with reverb, the katana is your uncle. And cheaper than some single reverb pedals I would add.

many happy returns to all reverb enthsiasts
Old 4 weeks ago
  #64
Lives for gear
Quote:
Originally Posted by monkeyxx View Post

The Boss Katana amp combos and heads have a really impressive reverb selection, I just found out, when I was dialing in my katana 50 MK II combo the other day. If you want a clean amp tone with reverb, the katana is your uncle. And cheaper than some single reverb pedals I would add.

many happy returns to all reverb enthsiasts
The Boss Katana series is stunning value for money, even before you add in the fact you get the entire boss pedal catalogue chucked in gratis, great modelling - excellent reverbs and effects. If someone slapped a Katana Combo in a case marked "Kemper" and flogged it for >$1000 nobody would bat an eyelid. They are one of the bits of kit that ought to completely saturate the market but gear snobs won't buy a Boss. Are they the absolute best modelling amps? No, but they're not far off - and for the price they retail at - a steal.
Old 4 weeks ago
  #65
Gear Guru
 
monkeyxx's Avatar
Quote:
Originally Posted by Scragend View Post
The Boss Katana series is stunning value for money, even before you add in the fact you get the entire boss pedal catalogue chucked in gratis, great modelling - excellent reverbs and effects. If someone slapped a Katana Combo in a case marked "Kemper" and flogged it for >$1000 nobody would bat an eyelid. They are one of the bits of kit that ought to completely saturate the market but gear snobs won't buy a Boss. Are they the absolute best modelling amps? No, but they're not far off - and for the price they retail at - a steal.
That's a good review/summary, I agree with pretty much everything you said.

The entire boss pedal catalog is not quite what's in there, it's more of the "usual suspects" of their mutli FX stuff along with some (new?) emulations. There's plenty though. I think about 62 they said. Many of them perform extremely well.

I guess the fact that the programming has to be done on a computer keeps the price down a bit. But I almost can't believe I got my Katana 50 MK II for $200. Incredible!

It's not going to win head to head shootouts with big rigs, but that's not really the point of it. It's more about how much its capable of doing and doing quite well. I'm kind of in awe of that thing. It's like a little 25 pound amp ninja.
Old 3 weeks ago
  #66
FLH
Here for the gear
 

Have any of you tried the Catalinbread Talisman? It's supposed to replicate the sound of an EMT 140. I don't know a lot about reverbs, but I like the sound of this one. I'm curious why I rarely see it mentioned or recommended.

Here's a link to a review of it:

http://www.bestguitareffects.com/cat...-reverb-pedal/


And here's a demo of it from the same people:

Old 2 weeks ago
  #67
Lives for gear
 
norbury brook's Avatar
 

Bottom line- if you don't want to mess with your dry amp sound then you have 2 choices.

1: use your FX loop in your amp and get some sort of parallel mix like this : https://www.suhr.com/electronics/ton...hr-minimix-ii/

then set you reverb pedal to 100 wet and blend to taste, this way you're NOT affecting your dry signal at all, just blending the wet verb signal with the dry.


2: send out of your FX loop or split your signal ( you can take a line out between amp and speaker if you like )and do the same thing but using another amp/small combo for your 100% wet sound.


if you're only recording then record dry and use the studio FX when mixing.


M
Old 2 weeks ago
  #68
Here for the gear
 

Welllll, what you need is a giant room with a pair of perfectly spaced Neumanns and a half-million dollars of top-rank outboard gear. Simply run the signal out to a remote cab in there, then back into the 30 person club you are playing in so your version of "Walk Don't Run" will be ~perfection~.

But yeah. I pulled the trigger on a Neunaber Immerse a few days ago. I'll report in when I use it a bit.

I generally hate guitar reverb pedals, but love reverb in general, so we'll see (I use amp spring reverb mostly. Best one? '74 HH IC100) . This is my first "level up" 'verb after the Boss one (meh), The Holy Grail (meh) and an absolutely terrible Mooer Shimverb (eff this thing. In the eye.)

I've taken to running reverb pre-compressor when recording lately, so want something that doesn't sound like ass when the comp brings the tail up at the end of the signal.
Old 2 weeks ago
  #69
Lives for gear
 
lame pseudonym's Avatar
 

I don't get how people don't like any reverb pedals but do like spring reverb. It's not like spring reverb is great at being anything but spring reverb.

Is that like you don't like blue because it isn't green?
Old 2 weeks ago
  #70
Lives for gear
 

Quote:
Originally Posted by lame pseudonym View Post
Nothin' like beating up a guy who walks in with high hopes.

I think that a reasonable person would recognize that he's asking within the context of a pedal. He said pedal. Right there. Go look.
LMAO





yep
Old 2 weeks ago
  #71
Gear Maniac
 

Quote:
Originally Posted by lame pseudonym View Post
I don't get how people don't like any reverb pedals but do like spring reverb. It's not like spring reverb is great at being anything but spring reverb.

Is that like you don't like blue because it isn't green?
I think those people want something that sounds like their amp reverb from back in the day. Pedals have a hard time doing that specific sound. So yes, they want "blue" and while pedals can do all sorts of different colors, they are bad at "blue" (spring reverb) in particular.
Old 2 weeks ago
  #72
Lives for gear
 

Quote:
Originally Posted by ponkine View Post
Tried both Blue and Big Sky on a store. I found both pedals compressed the sound, and I didn't like that

Instead, the MXR M300 was more dynamic, and I liked it better

Also, I found that the Strymon pedals sounded rather cold. Digital. Bright.

Ended up buying the MXR M300 for less money, and better results
The Strymon Big Sky reverbs can sound digital and rather cold, but can also sound huge and lush, or extremely realistic for small room sounds. But, I wanted to mention that the Strymon Big Sky and Blue Sky don’t compress the original signal in any way. The original analog signal runs through the pedal untouched, straight wire, no a/d, no change to the signal at all.
Old 5 days ago
  #73
Here for the gear
 

I have used Hermida Reverb 3, Strymon Flint, and MXR M300. The Flint was the best, IMO.

I've seen demos of the Native Audio Ghost Ridge and that would be next on my list to try.
Old 5 days ago
  #74
Gear Nut
 

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